June 24, 1961 STUDIOTrack 11 by the Beatles. Track 12 by Tony Sheridan and the Beat Brothers. Studio Rahlstedt, Hamburg.11. Ain't She Sweet, RS '64? (2:10)12. Take Out Some Insurance On Me, RS '64? (2:53)

Performers: on tracks 1-4 the lineup is George Harrison: lead guitar; John Lennon and Paul McCartney: rhythm guitars; and Stu Sutcliffe: bass. On tracks 5-12 the lineup is Tony Sheridan: Lead vocal and lead guitar; John Lennon and George Harrison: rhythm guitar and back-up vocals; Paul McCartney: bass and back-up vocals; and Pete Best: drums.

Producers: tracks 1-4 were self-produced, while tracks 5-12 were produced by Bert Kaempfert.

Composers: 1-4 probably by Lennon-McCartney; 5-7 and 10 are traditional/arranged by Sheridan; 8 by Sheridan-Compton; 9 by Harrison-Lennon; 11 by Ager-Yellen; and 12 by Singleton-Hall. The provisional title of Track 4 comes from a comment captured at the end of the instrumental performance.

Photos: the cover shot was taken by Cheniston Roland on May 10, 1960 during the Larry Parnes/Billy Fury audition at the Wyvern Club, Liverpool. Stu Sutcliffe is at left. Colorized by the clever Silent Sea graphics department, who also maneuvered George over closer to the others. The inside photo was taken in October, 1960 by Astrid Kirchherr at an amusement park in Hamburg, this time with Stu in the middle. The back photo was shot in 1961 outside the Cavern Club, Liverpool. Pete Best is second from left.

Spring-Summer, 1958 STUDIOThe Quarry Men. Phillips Sound Recording Service, Liverpool.2. That'll Be The Day (2:07)3. In Spite Of All The Danger (2:44)

April-May, 1960 (part 1) HOME TAPEThe Beatals. Paul's home and possibly other locations, Liverpool.4. I'll Always Be In Love With You (2:19)5. unknown/Matchbox (1:00)6. Some Days (?) (1:35)7. I Don't Need No Cigarette, Boy (?) (5:55)8. One After 909 (1:26)9. One After 909 (2:26)10. Cayenne (2:27)11. Hallelujah! I Love Her So (2:34)12. Johnny, Johnny (?) (5:54)13. Hello Little Girl (1:52)14. That's When Your Heartaches Begin (1:13)15. Well Darling (?) (3:22)16. You'll Be Mine (1:42)17. The World Is Waiting For The Sunrise (2:37)18. I'll Follow The Sun (1:46)19. You Must Write Every Day (?) (2:30)20. Movin' N' Groovin'/Ramrod (3:47)21. Wild Cat (1:24)22. Wild Cat (2:27)23. Turn The Bitches Off (?) (4:59)24. An Important Number (?) (7:54)

Performers: John Lennon sings lead on 1-3, 8-9 and 13; shared lead on 6, 7, 12, 15, 16 and 24; and back-up on 14; plays lead guitar on 9, 13 and 17 and rhythm guitar on 1-8, 10-12, 14-17 and 19-24; and he may be banging a chair for percussion on 18. Paul McCartney sings lead vocal on 4, 6, 8, 9, 11, 14, 17-19, 21 and 22; shared lead on 7, 12, 15, 16 and 24; and back-up on 2, 3 and 13; and plays lead guitar on 4, 11, 18 and 20; and rhythm guitar on 2-10 and 12-24. George Harrison sings lead on 5 and back-up on 14 and plays lead guitar on 2, 3, 5, 7, 10, 12, 14, 15, 19 and 21-24. Stu Sutcliffe plays bass on 5, 7, 10-12, 14, 15, 19 and 21-24; and possibly sings back-up on 15. Eric Griffiths plays rhythm guitar on 1. Colin Hanton plays drums on 1-3. Rod Davis plays banjo on 1. Pete Shotton plays washboard on 1. Len Garry plays tea-chest bass on 1. John "Duff" Lowe plays piano on 2 and 3.

Producers: track 1 was taped by Bob Molyneux. Tracks 2 and 3 were produced by Percy F. Phillips. Tracks 4-24 were self-produced.

Composers: all probably Lennon-McCartney except 1 by Cazden-Donegan; 2 by Allison-Holly-Petty; 3 by McCartney-Harrison; 4 by Ruby-Green-Stept; 5 by Perkins; 11 by Charles; 14 by Fisher-Raskin-Hill; 17 by Lockhart-Seitz; 20 by Hazlewood-Eddy/Casey; and 21 and 22 by Schroeder-Gold. Song titles followed by a (?) are best guesses, usually based on the lyrics; although the title of 23 comes from a comment captured at the end of an instrumental performance.

Photos: the cover photo was taken by Geoff Rhind the same day that track 1 was recorded, during the Quarry Men's afternoon set. From left: Eric Griffiths, Colin Hanton, Rod Davis, John, Pete Shotton, Len Garry. Colorized by the proud Silent Sea graphics department. The inside photo was taken by Leslie Kearney on November 23, 1957 at the New Clubmore Hall, Liverpool. On drums is Colin Hanton, with Len Garry on bass. Cropped from the photo is guitarist Eric Griffiths. The back photo was shot December 20, 1958 at the Harrison house during George's brother Harry's wedding reception.

1. Yesterday2. I'll Follow The Sun3. I Need You4. Girl5. In My Life6. Words Of Love7. Here, There And Everywhere8. Something9. And I Love Her10. If I Fell11. I'll Be Back12. Tell Me What You See13. Yes It Is14. Michelle15. It's Only Love16. You're Going To Lose That Girl17. Every Little Thing18. For No One19. She's Leaving Home20. The Long And Winding Road21. This Boy22. Norwegian Wood (This Bird Has Flown)23. You've Got To Hide Your Love Away24. I Will25. P.S. I Love You

1. Introduction2. Starting Over in the 80's3. Watching the Wheels4. A Diarrhea of Creativity5. Starting Over6. Just Another Rocker7. Cleanup Time8. Almost Like Twins9. Narration10. Don't Touch, Don't Feel11. Narration12. Just a Daddy13. Beautiful Boy14. Narration15. Expectations16. Narration17. I'm Not Running for Office18. Narration19. Back to the Roots20. Rock N Roll Music21. Choosing Partners22. Narration23. Meeting Yoko24. Out The Blue25. Longer Than the Beatles26. Narration27. Macho Woman28. Narration29. Whatever Gets You Through the Night30. I Needed Her So Much31. Dear Yoko

Volume Two

1. #9 Dream2. Yoko Kicked Me Out3. Narration4. A Blank Check5. Narration6. Freaky Music & Two Virgins7. Narration8. What Are They Doing?9. The Ballad of John and Yoko10. We're in Enough Trouble As It Is11. Woman Is The Nigger Of The World12. Our Intentions Were Good13. Give Peace A Chance14. We're Human Again15. Love16. Love Is The Answer17. Narration18. This Time They're Ready For Us19. Narration20. Double Fantasy21. Narration22. We All Survived23. Narration24. One Whole Piece of Work25. Starting Over26. Now I Know Both Sides27. Narration28. It's Kid's Stuff29. Mind Games30. There Was No Time To Reflect31. Oh Yoko32. Everyone Knows What Love Is33. Narration34. A Reflection Of Us All35. Woman

The Compleat Beatles, released in 1984, is a two-hour documentary, chronicling the career of the "Fab Four". Though it has since been supplanted by the longer and more in-depth documentary The Beatles Anthology, The Compleat Beatles was for many years largely regarded as the definitive source of information on the Beatles.

Narrated by Malcolm McDowell, it included extensive interviews with a number of sources close to the Beatles, including producer George Martin, their first manager Allan Williams, music writer Bill Harry, and musicians Gerry Marsden, Billy J. Kramer, Marianne Faithfull, Billy Preston, and Tony Sheridan, as well as early concert footage, behind-the-scenes background on the making of their albums, and candid footage of their often obsessed, hysterical fans.

Directed by Patrick Montgomery, the film was produced by Delilah Films and released by MGM/UA. It enjoyed a brief theatrical release in 1984.

This book is a tribute to a unique group of fans. The Apple Scruffs were a collection of young women who dedicated their lives for a number of years to the objects of their idolatry -- The Beatles. These were no ordinary fans. Their special relationship with the Beatles provided the fab four with protection, loyalty and friendship. Their monthly magazine provided information for the Beatles concerning their staff, their fans and above all themselves. In turn, the Beatles paid homage to The Scruffs. Paul called them "the eyes of the world" and George wrote the song Apple Scruffs in their honour.

In telling this fascinating and often outrageous story, the book is also a personal glimpse into the lives of the Beatles and their fans, based on everyday encounters. Specifically the book chronicles the development of the very special relationship between one Beatle - George - and one fan - the author Carol Bedford herself. Often sensational, often amusing and in its observation of the special and fascinating trivia associated with super stars and their day-to-day activities, Waiting for the Beatles is like no other Beatles book - ever.

Friday, August 08, 2008

1. Twist and Shout2. You Can't Do That3. All My Loving4. She Loves You5. Things We Said Today6. Roll Over Beethoven7. Can't Buy Me Love8. If I Fell9. I Want To Hold Your Hand10. Boys11. A Hard Day's Night12. Long Tall Sally

Recorded live at The Hollywood BowlAugust 23, 1964

Liner Notes

As many of you know, Ebbetts currently offers a title in the catalogue called "The Beatles Live At The Hollywood Bowl (Capitol Project)." This title was meant to represent the "infamous" Capitol Records project that never came to be - namely, the release of a Beatles live album that featured the band's performace in August, 1964 at the Hollywood Bowl. As is now well-known, this proposed release was given a project number by the powers-that-be at Capitol. An actual monophonic acetate was made of this performance! Sadly, the whole thing was eventually shelved. As many of you also know, Ebbetts decided to bring this never-completed idea to life by utilizing the suggested artwork from Bruce Spizer's remarkable book on the history of the Beatles on Capitol Records and compiling the best sounding source material. What eventually came about was a very popular addition to the Ebbetts catalogue. Unfortunately, even with its popularity, this title has always "bugged" me a bit - as well as many others along the way. While it did offer a stereophonic version of the COMPLETE performance with detailed Ebbetts labelling and artwork, it wasn't a TRUE representation of the project as created by Capitol. (I have been reminded of this fact more times than I care to recount). The original acetate was edited to exclude much of the chatter and dead space and made to sound a bit tighter. Some slight reverb was also applied to the original acetate to enhance the "live" feel. None of these specifications were evident on the original Ebbetts stereo release of this title.

That's where THIS release comes in.

Using the original Capitol acetate as a guide, this release replicates EVERY detail of the original. It has been edited PRECISELY as the acetate was, and with the help of several people who are not only Beatle afficianados, but PROFOUNDLY knowledgeable with sound and effects, the reverb has been replicated. This MONO TYPE-B mix was created exactly as the Capitol acetate was. This is how this project should have been released by Ebbetts originally. The artwork will look the same as the current stereo version.

Eventually, a true STEREO version of this acetate edit will be released as a new title by Ebbetts. At that time, the current incarnation of the complete unedited stereo show will be discontinued, but offered as a FREE UPGRADE with brand new artwork. (That will be explained in further detail when the time comes. Just a little heads up).

The Beatles' Story on Capitol Records is an extension of the name of one of Capitol's "specially created for the American market" albums. This book (Part One of two parts) covers the Beatles singles released by Capitol from December, 1963, through March, 1968. Part Two will cover the albums. Although Capitol was not the first label to issue Beatles records in the United States, the majority of the group's songs appeared in America on the Hollywood-based label. Thus, for American first generation Beatles fans, the Beatles and Capitol are forever intertwined.

The format of this book is similar to my previous opus, "The Beatles Records on Vee-Jay." It details the songs contained on Capitol's Beatles records, presents color images pictures of the picture sleeves, trade ads and record labels and tells the stories behind the records and the company's marketing of the Beatles.

For marketing and financial reasons, Capitol chose not to duplicate the Beatles British releases. The label's first Beatles record, "I Want To Hold Your Hand," had a different flip side, as did its third single, "A Hard Day's Night." Capitol also released several "created for the American market" singles that were never released in England. In a little over four years, Capitol issued nineteen regular singles, six Star Line singles, two extended play discs, thirteen albums and a double documentary disc. In addition, the label prepared three jukebox mini-albums, two promotional open-end interview records and other assorted records featuring or related to the Beatles. All in all, a most impressive catalog.

The book's opening section, titled "Beatlemania In America," explains why Capitol initially rejected the Beatles four times before finally agreeing to issue the group's records. It tells the story of what convinced the label to sign the band and details Capitol's initial marketing campaign for the Beatles and the group's relationship with the press. Of particular interest is the attention given by Capitol and the media to the Beatles hair. At the time the Beatles burst upon the scene, crew cuts and short hair were the norm and the Beatles mop-top hair style was considered radically long. To adult observers, the hair was as different as the music.

Section Two is titled "The Beatles Hit Singles On Capitol." It details the 45 RPM (revolutions per minute) Beatles records and other 7" discs issued by Capitol from late December, 1963, through early 1968. For each release, an illustration of record's custom picture sleeve is provided. Information regarding release dates, chart action and sales is followed by stories of the recording of the songs. The picture sleeve and label variations for each record are described, followed by pictures of the sleeves and labels. The section also covers the 7" jukebox mini-albums, interview records and Beatles related singles issued by Capitol. There are also chapters on the singles released by Capitol of Canada and how to spot counterfeit singles and picture sleeves.

Section Three, titled "Capitol Ideas," contains a brief history of Capitol Records, as well as chapters on the Capitol Record Club, merchandising and Capitol catalogs, press kits and press releases. There is also a pictorial bibliography titled "More Great Books For Your Beatles Collection" and a checklist of the Capitol Beatles singles catalog from the December 26, 1963, release of "I Want To Hold Your Hand" through the release of "Lady Madonna" in March, 1968.

Compiling this book brought back wonderful memories. In addition to reading numerous trade journals, magazines and newspaper articles from the sixties, I listened to the music in its purist form by playing the records. Placing the early Capitol swirl 45s on my vintage 1964 Beatles turntable transported me back in time. The record player hummed and its turntable varied between 44 and 46 revolutions per minute, but that only enhanced the experience.

I first heard most of the singles covered by this book blaring through a school bus radio tuned to WTIX in New Orleans. For me, I Want To Hold Your Hand and the Beatles made their debut one afternoon in early January, 1964. Both quickly became the highlight of every bus ride and car pool. The 45s released during the summer evoke fond memories of family road trips. Yellow Submarine and Holiday Inns were as much a part of my 1966 vacation as the places we went. The cycle came full circle when I first heard the last original Capitol Beatles single, Lady Madonna, on the school bus. The bus' blown speaker and competing sounds from other riders prevented me from determining if the lead singer was Paul or Ringo, but I knew it was a great song. The tune's rollicking piano reminded me of the exciting Fats Domino singles of the fifties and early sixties.

Although I enjoy listening to the Beatles on CD, it is more of a sonic experience than a journey back in time. There is a certain thrill about holding a colorful 7" x 7" picture sleeve and watching an orange and yellow Capitol swirl label spin on a turntable that no CD can ever hope to duplicate. Those Capitol singles were the records of my childhood that I will always remember. For Americans growing up in the sixties, the Beatles on Capitol were the greatest.

A narrative and pictorial discography of Beatlemania. Thousands of words have been written about the records...Hundreds on hundreds of color pictures have been printed... All in an effort to capture for fans and collectors the world over the fascinating truth and substance about the Capitol singles and albums by four wonderful guys named John, George, Paul and Ringo. Here, at last, IS the whole story and the real story about the Beatles on Capitol Records, authoritatively researched, written and compiled in two books by Bruce Spizer, author of the critically acclaimed "The Beatles Records on Vee-Jay."

Here's what you'll find inside:

The Beatles records in close-up, packed with details, anecdotes, facts you never knew before about them; the authentic stories of all records; the wonderful wit and humor of the Beatles themselves in off-the-cuff press conferences; the Beatles Campaign; pictures and stories of the Beatles hit records; best of the trade magazine ads; corporate documents; dazzling color photos of all record jackets, picture sleeves, label variations and promotional items; the most comprehensive coverage yet on the capitol records of John, George, Paul and Ringo - from "I Want To Hold Your Hand" to "Lady Madonna."

Bruce Spizer is a first generation Beatles fan and a life-long native of New Orleans, Louisiana. He has an extensive Beatles collection, concentrating primarily on United States and Canadian first issue records, record promotional items, press kits and concert posters. A taxman by day, Bruce is a board certified tax attorney and certified public accountant. A paperback writer by night, he is the author of the critically acclaimed book, The Beatles Records on Vee-Jay. Bruce's articles on the Beatles are featured regularly in Beatlology Magazine and Beatlefan.

Thursday, August 07, 2008

1. Yesterday2. Norwegian Wood3. Do You Want To Know A Secret4. For No One5. Michelle6. Nowhere Man7. You've Got To Hide Your Love Away8. Across The Universe9. All My Loving10. Hey Jude11. Something12. The Fool On The Hill13. Till There Was You14. The Long And Winding Road15. Here Comes The Sun16. Blackbird17. And I Love Her18. She's Leaving Home19. Here, There And Everywhere20. Let It Be

Produced by George Martin"The Long And Winding Road" produced by Phil Spector

A special series of four Frederick James interview features in which John, Paul, George and Ringo talk to readers.

"Since this is the last of these BEATLE-SPEAKING features for the time being, I'd like to round off the series with something a bit different. Most of the time--and particularly when we're on tour--we have some sort of press conference on an average of one per day. As you know, we had five weeks of non-stop concert dates in America and Canada followed almost immediately by our present one-nighter tour of Britain. So quite a few questions and answers have been flung to and fro between us four and the world's press reporters in the last couple of months. On my two pages I'd like to hold a small press conference of my own. I'll ask the questions and I'll try to answer them as well (if they're not too tricky!). Some of them will be questions I've wanted the reporters to get around to asking and some of them will be questions which have cropped up most frequently in the letters we get from Beatle People.

Right. Here we go. On the left--George Harrison, guitarist of The Beatles pop group all ready to give exclusive comments. On the right--George Harrison, press interrogator and occasional Daily Express columnist. Who will win this battle of wits? Harrison the shrewd question-master or Harrison the Beatle?

Q.--You've been called 'the most easy-going Beatle'. What do you take that to mean?

A.--I suppose it means a lot of things which are true. I'm slow. I like to take my time whether it is to think out a reply or to tune up my guitar. I hate trying to dart from one subject to another. I get some sort of personal satisfaction out of finishing one thing before I start another.

Q.--Does that mean you don't make friends very easily?

A.--On the contrary. I'm extremely interested in people. I think I make an easy target for folk who like to talk about themselves. It takes a long time for them to bore me because I enjoy listening to new ideas and different opinions. That's what life is for--to find out fresh things and learn new facts.

Q.--Surely your life with The Beatles has put a stop to that?

A.--No. By nature I hate rushing so the pace of things is the one drawback to being a Beatle. But don't forget that I've been with John and Paul for more than six years now and we know each other inside out. Our individual characteristics--and I include Ringo in this, of course--balance against one another remarkably well. It is because our personalities work at different pressures that we get on so well together as a team.

Q.--Are you the most musical of The Beatles?

A.--Depends what you mean. People have said I am just because I admit to liking Segovia's guitar playing and they think that's all very highbrow and musical. I believe I love my own guitar more than the others love theirs. For John and Paul songwriting is pretty important and guitar playing is a means to an end. While they're making up new tunes I can thoroughly enjoy myself just doodling around with a guitar for a whole evening. I'm fascinated by the new sounds I can get from different instruments I try out. I'm not sure that makes me particularly musical. Just call me a guitar fanatic instead and I'll be satisfied!

Q.--You are the youngest Beatle. Do you feel younger than the others?

A.--There again it is important to remember that we've been close friends since school days. A year or two either way doesn't make the slightest difference in our age group. It would if you were talking about a George aged eight and a John aged eleven, but as a group we've all had just about the same amount of experience and, of course, we've shared all the same adventures.

Q.--What do you think about fans?

A.--A lot of rot is talked about kids getting out of hand and suchlike. Even a kid who is quiet on her own takes the opportunity of letting off as much steam as possible when she's with the gang. It doesn't mean she's out of control--just that she's learnt how to have fun. Boys are the same. They let off the same steam in different places. Girls outside stage doors or in the front stalls. Boys inside a football ground or at a boxing match. But whatever way you look at it The Beatles (and every other artist in the Top Twenty) rely entirely on the fans. It would be no good finding a good song and making a terrific recording of it if there were no fans around to decide whether they liked it or not. To any artist fans are vitally important. An artist who did well and then wanted to forget about his fans might as well forget about his fame at the same time.

Q.--Do you spend most of the money you earn?

A.--I am interested in money. When I hadn't very much of it I was just as interested in what a small amount could be made to do. Naturally anybody spends more or less according to his income, so, I suppose I spend plenty by some standards. On the other hand I hate the idea of just getting rid of money because it is in your pocket. I like to keep as small a wallet as possible in case I'm tempted to waste cash on unnecessary things. I haven't got a very good business head, but if my life had been entirely different and I'd only had a little savings in the bank, I reckon I'd have made a success of some small business by taking advice from somebody. I'd have asked what I ought to do with my saved-up money to make it grow.

Q.--Have you grown away from your parents because of the life you lead?

A.--An unfair leading question that! I have not grown away from my parents at all. In fact I think a boy who spends some of his time away from home grows even closer to his relatives. They are not taken for granted so much if they're not around every day. I don't live in Liverpool any more but I can't really say I live in London or anywhere else either. In this game it is a matter of staying overnight in dozens of different places each month, and you have to learn to set down your boots and your luggage wherever it's most convenient.

Q.--What about the other side of the same question. Don't your parents get caught up with your life whether they like it or not?

A.--I can only answer half of that question because my mother and father are caught up in the success of The Beatles but they don't mind it a bit. In fact they're very, very helpful about it all as a lot of Beatle People will know. They deal with a lot of my fan mail when I'm away from home and their back room looks like a G.P.O. sorting office half the time!

Q.--Final question. What type of Press interviews do you think are the most useful?

A.--This sort!!! In the last four months each of us has had a couple of pages to say exactly what he likes to Monthly Book readers. We've all been able to open up and talk about some of the things which get left out of ordinary press conferences because of time shortage--reporters' time shortage just as much as ours. I hope we'll have another session like this one fairly soon."

19. Let It BeRecorded January 26, 1969 with final mixing done in March 1970

20. The Long And Winding RoadRecorded January 26, 1969 with final mixing done in March 1970

All songs composed by John Lennon & Paul McCartneyProduced by George MartinRecorded in EnglandAll 20 songs reached the no. 1 position on the pop singles charts as compiled by Billboard magazine, international music trade publication. All selections have been previously released.

A look at the commercial compromises and recording secrets of the most famous pop group ever. Marketed as cynically as any boy band of today, the Beatles may be the most extraordinary music phenomenon of the last century--but not everything is known about their songs. Here, for the first time, their songwriting and recording secrets are disclosed: their studio tricks, their songwriting formulas, the music they "stole" from others, and the commercial compromises they made to achieve hit status. Including a chronological survey that reveals something new about every song released, Beatles for Sale may be the most informative and frank account of their music ever written. Journalist David Rowley writes for numerous publications, including The Guardian, Time Out, and the Independent on Sunday.

Excerpt

Useful, objective explanations of the Beatles are treated with wariness. Each new and challenging Beatles book - particularly Ian MacDonald's Revolution in the Head and even the Beatles' very own Anthology book - is treated in the media with the same desperate assertion: `We thought that nothing new could be said about the Beatles, but you can go out and buy this book safe in the knowledge that this is the very last Beatles book you ever need to buy.' One assumes that people generally like the myth of the Beatles and do not want a rational explanation.

Our views on the Beatles must evolve. Just as every generation produces a new analysis and opinion of figures like Mozart or Shakespeare, so our attitude to the Beatles will change. Crucially, new evidence is still emerging on the Beatles. Already Philip Norman's thrilling biography of the group, Shout! from 1981, looks to have gaping holes in it. Since its publication many figures from the Beatles' past have emerged to tell their own stories as the Beatles nostalgia industry has provided public speaking opportunities. At the 2001 Beatles convention in Liverpool it was interesting to hear Cavern DJ Bob Wooler denounce as myth the idea stated in many Beatles books that it was `Cunard Yanks' working on ocean liners that docked in Liverpool who introduced rare rock 'n' roll and R&B records to Liverpool. And who should know better than Liverpool's foremost early 1960s DJ that such records were easily available on order in Liverpool record shops? During my own research, I came across numerous interviews not drawn upon by other books - part of it on the relatively new medium of the Internet. John Lennon and Paul McCartney have been prolific givers of interviews, yet even widely available interviews such as John's interviews for Rolling Stone in 1970 and Playboy in 1980 are fruitful after repeated reading.

We resist too much deep thought on the Beatles as their songs are often simple and light. At the same time by contrast we often find their success so incomprehensible that for many of us it is easiest to portray them as gods. Understanding the Beatles' methods is something that can improve our appreciation of their music and is of use for anyone making music or contemplating a pop career. To be able to see them as human beings and not deities should, too, make them more appealing to a younger generation irritated with their parents' gloating memories of having been closer in spirit and time to the Beatles.

What pass for explanations of the Beatles' music today are shaggy dog stories. We are kept amused with tit-bits of trivia about the making of their music. There is the endless and disappointing retelling of the creation of `Yesterday'; of how with no lyrics Paul used the words `scrambled eggs' to scan out the melody and of how `Hey Jude' was originally `Hey Jules' in honour of Julian Lennon. These tales are dead-ends and do not illuminate us on the Beatles' artistry; if anything, they diminish the songs in question. By contrast, we have little such trivia on the making of Shakespeare's plays. Instead we are left with his works, which we must grasp and analyse.

Analyses, of course, have been made of the Beatles music, two of the best being Ian MacDonald's Revolution In The Head: the Beatles' Records and the '60s and Steve Turner's A Hard Day's Write. MacDonald's book is largely an analysis of the intuitive and conscious musical workings of the Beatles, while Turner's is a result of his extensive research of the anecdotes and events surrounding each song. In parts our research has overlapped, but neither of these books seems motivated strongly to demystify the way we see the Beatles.

One of the key myths surrounding the Beatles' is that their music was so artistically strong it could not fail to get to number one. This belief fails to take into account their huge ambition for fame and its rewards. In today's usual reckoning of the Beatles as pop `artists', we tend not to examine any of their baser motives, preferring to see them as purely motivated by a love of music and a need to communicate with the world. The Beatles themselves, it should be noted, have attempted to point out that not all their motives were pure. John in particular wielded the biggest attack against the Beatles myth - as he himself referred to it - in his 1970 Rolling Stone interview. To make it to the top he said you had to be a `bastard' and the Beatles were in such a context the `biggest bastards on earth'. Albert Goldman's The Lives Of John Lennon seems to have taken this remark to heart and pursued it relentlessly, missing the point of what John was trying to achieve with this comment. By making such knowingly sensational remarks, he sought to counter what he saw as widely held misconceptions of the Beatles. His remarks also served to emphasise that the Beatles were not gods, but ordinary human beings. It is from the last perspective that I have written this book - the Beatles not as four gods, but as four highly motivated, but otherwise normal, Liverpool lads.

While the Beatles did more than any other pop group to make the term `pop artist' a valid one, to see their first five albums, for example, in purely artistic terms is to misunderstand them completely. If anything, the Beatles' early career involved the suppression of their artistic urges for monetary gain and a high media profile. (The importance the Beatles gave to getting rich is revealed unashamedly in many interviews they made between 1963 and 1965, especially in those set question-and-answer-style profiles in pop magazines, where often their answer to the `Ambitions' section is simply `to be rich'.)

To reach the top, the Beatles faced more commercial than artistic battles. Their early five-year struggle (1957-62) left its mark on them, unlike, for example, the Rolling Stones, who achieved national fame a mere two years after their formation. By contrast, the Beatles needed to present themselves smartly to gain the few early gigs they could muster in Liverpool, they needed dramatic stage showmanship and a broadrepertoire of songs to win over a disinterested German public on their first visit to Hamburg, and they needed to wear suits to secure lucrative bookings in large theatres and make an impression on London record companies.

These compromises shaped the Beatles' outlook but encouraged them to put one over on the staid, out-of-touch UK music industry and re­write the rules. Unlike Mick Jagger, who had an open invitation to return to the London School of Economics any time his pop career fell through, the Beatles had staked everything on making it in the music business and their first concern was to gain enough commercial success to secure their livelihood. Probably the only time the Beatles truly relaxed enough to produce material that appealed to their artistic sensibilities alone was on The White Album in 1968.

The Beatles' key commercial strategy in their first few years of recording was to write lyrics emphasising their eligibility as young handsome men to impressionable girl teens - one of the most loyal markets of record buyers. John's marriage and child (which admittedly he never publicly sought to deny) were kept secret for as long as possible, as were Paul, George and Ringo's girlfriends. As cynically as any boy band of recent years, the Beatles lyrics portrayed the group as a fantasy of true, devotional love and unthreatening masculinity. Intimacy went only as far as kissing, holding hands (`I Want To Hold Your Hand') and dancing (`I Saw Her Standing There' and `I'm Happy Just To Dance With You'). The grand lie of this early Beatles era (and that for most successful boy bands today) was that between 1962 and 1965, John and Paul in particular were in fact so sexually active that the only true relationships they had time for were between themselves.

The irony was that the Beatles would probably have been far more comfortable with the raunchier style of the Rolling Stones at this time. What little mention of sex did creep into their music in this era was either coded or implied on album tracks and B-sides, such as `Norwegian Wood', `She's A Woman', `Hold Me Tight' and `Everybody's Trying To Be My Baby'. (`Please Please Me' includes some of their more salacious lyrics, though this was written before Beatlemania and before the Beatles had entered the national consciousness.) It must have been a cause of enormous satisfaction and relief to the Beatles when they smuggled their first overt sexual reference onto an A-side with `Day Tripper', where Paul smuggled in the words `prick teaser'. Even here, though, the reference was largely included to impress their drinking buddies and contemporaries in the rock business.

By late 1965 the Beatles had all bought their big houses in exclusive neighbourhoods, had proved themselves `as big as Elvis' and were free to explore other artistic ambitions. Meanwhile in Hollywood a younger, tamer version of the Beatles - the Monkees - was conveniently about to take over as the world's cuddly and puppet-like `fab four'.

A unique and frank first hand account of the Beatles in early Liverpool & the major contribution made by African Americans to the British music scene

Over 250 rare photographs

Black meets White in a City all Shades of Gray

"A wonderfully researched latent masterpiece. You manage to shed new light on what is fast becoming more myth than reality."Paul Balmer, Documentary Film makerMusic On Earth Productions, London

Liverpool The 5th Beatle is a perspective on the rise of the Liverpool Mersey Sound by someone who drank in the same pubs, and played in the same clubs as the Beatles. Mr Pitts delves much deeper than the average rock journalist to present an amazingly original comparison of Liverpool with Black America of the 50's and 60's giving us an insight into how the social and musical conditions in our African-American community found a direct heart beat amongst the Liverpool youth who were singularly responsible for the rise of the Mersey Sound and the incredible success of the Beatles. Not only is his book inspiring to minority groups throughout America but this novel insight into the Beatles and the ghetto conditions in which the Mersey Sound began has stirred avid interest in all age groups who are quite mesmerized by the truth behind the Beatles' legend.

Monday, August 04, 2008

Exclusive new interviews with Yoko Ono and more than 100 friends and family

INCLUDES DVD of the Final interview with Lennon and McCartney

A quarter of a century after his death, the question remains: what was John Lennon really like? Now, in the audio version of The New York Times’ bestselling book, acclaimed broadcast journalist Larry Kane uncovers the mysteries of Lennon’s life and implodes the myths surrounding it. Lennon Revealed is filled with eye-opening revelations: Kane provides stunning information about Lennon’s relationships with Ono, his childhood soulmate Stuart Sutcliffe, his lover May Pang, and Beatles’ manager Brian Epstein. Drawing on extensive personal accounts and extraordinary new interviews—most notably, Yoko Ono—Kane brings the reader closer than ever to the charismatic man who, in life and in death, had a singular impact on humanity. The exclusive DVD also features the rarely seen final filmed interview with Lennon and Paul McCartney, conducted by Larry Kane in 1968.

Larry Kane is the “dean of Philadelphia television news anchors,” having had a 45-year career covering domestic and world events. He previously wrote an account of his tour experiences with the Beatles in his book Ticket to Ride. Kane lives in southeastern Pennsylvania.

Never before has there been such an absolutely thorough and definitive look at how the Beatles' albums were recorded. Years of research and extensive interviews with the group's former engineers and technicians shed new light on those classic sessions. With a detailed look at every piece of studio gear used, full explanations of effects and recording processes, and an inside look at how specific songs were recorded, Recording The Beatles is a must-have for any Beatles fan or recording engineer. Hardcover, 11" x 11", 540 pages, over 500 photos and illustrations, color and black and white, ISBN: 0-9785200-0-9

Advance Praise for Recording The Beatles

"Five stars...impossible to put down...a major publication."MOJO, March 2007

"Magnificently produced...everything you could possibly want to know about the equipment used at the Abbey Road Studios when the Beatles worked there, and... how the group made its classic recordings"New York Times, December 26, 2006

"...a vast, in-depth and amazingly well researched document of recording history."Sound On Sound, December 2006

"Few books -- if any -- deliver such a thorough, detailed and enjoyable exegesis of vintage recording equipment."Future Music, January 2007

"Some books stand clear of the crowded field by the contribution they make, and Recording The Beatles is a giant. The intricate technical aspects of the Beatles' recordings have never been better explained. This is a volume that adds considerably to the knowledge, providing a comfortable arm to guide the read up, down, inside and outside the EMI studios at Abbey Road, examining how all those extraordinary tracks came together, identifying the equipment and how it was put to use, looking at the expertise of EMI's superbly trained staff, exploring the techniques and processes. Clearheaded writing, photographs, illustrations, diagrams... it's a masterclass of fine scholarship, a definitive work."--Mark Lewisohn, renowned Beatles author (excerpted from Foreword)

"...the most definitive and thoroughly researched book ever published about how the Beatles' recordings were actually made. It is an absolute 'must' for anyone who wants to know the true story of their recordings, the equipment used, and the people behind the scenes."--Ken Townsend, Beatles Technical Engineer 1962-1970, former Director of Operations Abbey Road Studios

"A fascinating and impeccably researched work about the engineers, studios and equipment that contributed to the 'recording revolution' that was The Beatles. An essential Beatles recording bible."--Alan Parsons, engineer/producer (The Beatles, Pink Floyd, Wings, The Alan Parsons Project)

"Recording The Beatles is quite superb. The research, the content, the overall appearance, are unparalleled. It is a work of art. I have nothing but praise for it."--Norman Smith, engineer/producer (The Beatles, Pink Floyd, Pretty Things)

"I was at Abbey Road for a number of years and this book tells me things I never even knew. It is amazing and should be requisite reading for anyone with the slightest interest in the making of records. It shows where many of today's commonplace recording techniques originated and what may have been lost in the translation."--Ken Scott, engineer/producer (The Beatles, David Bowie, Elton John, George Harrison)

"Musicians, producers and engineers of all generations will find this an invaluable guide to the Golden Decade of British Recording. Brian and Kevin's extraordinary research process -- which included intense cross-referencing of recollections and anecdotes by Abbey Road staffers, past and present -- achieves the most accurate document of The Beatles' recording techniques yet published."--John Kurlander, engineer (The Beatles, Paul McCartney, Lord of the Rings Trilogy)

"An amazingly detailed book that shows -- both in picture and text -- details that have never before been revealed about Abbey Road Studios. A great read for anyone interested in any aspect of recording."--Richard Lush, engineer (The Beatles, John Lennon, Badfinger, Paul McCartney)

"To this day the question keeps coming up: 'How did the Beatles do it?' Kevin and Brian's book leaves no stone unturned in revealing Abbey Road's contribution to these unique recordings. A magnificent effort. The amount of detail is quite amazing and provides a wonderful insight into the technology and methods used at the studio in the 60s. This is a definitive piece of work."--Martin Benge, engineer (The Beatles, George Harrison) former Vice President EMI Music Studios

Sunday, August 03, 2008

1. Twist And Shout2. A Taste Of Honey3. Do You Want To Know A Secret4. There's A Place5. From Me To You6. Thank You Girl7. Please Please Me8. Love Me Do9. I Saw Her Standing There10. Misery11. Anna (Go To Him)12. Chains13. All My Loving14. Ask Me Why15. Money16. P.S. I Love You17. Long Tall Sally18. I Call Your Name19. Slow Down20. Matchbox21. I Should Have Known Better22. If I Fell23. Tell Me Why24. And I Love Her25. Any Time At All26. I'll Cry Instead27. Things We Said Today28. When I Get Home29. No Reply30. I'm A Loser31. Rock And Roll Music32. Eight Days A Week

“I’ve always been politically minded, you know, and against the status quo. It’s pretty basic when you’re brought up, like I was, to hate and fear the police as a natural enemy and to despise the army as something that takes everybody away and leaves them dead somewhere. I mean, it’s just a basic working class thing, though it begins to wear off when you get older, get a family and get swallowed up in the system. In my case I’ve never not been political, though religion tended to overshadow it in my acid days; that would be around ‘65 or ‘66. And that religion was directly the result of all that superstar shit – religion was an outlet for my repression. I thought, ‘Well, there’s something else to life, isn’t there? This isn’t it, surely?’”– John Lennon, 1971

John Lennon began his career as a regular pop star who happened to make extraordinary music. All that changed in 1966 when Lennon was criticized for remarking that the Beatles were “more popular than Jesus.” Ticket sales soon dwindled in United States during what was to be their final tour. The Beatles were now a studio band and could write songs for themselves, rather than to please the public. Lennon was free to write about his childhood (“Strawberry Fields Forever”), his personal state of mind (“I’m So Tired,” “Yer Blues”) or politics (“Revolution”). Meeting and falling in love with Yoko Ono fueled his creativity in songwriting and other fields of art. John also gained the confidence to express his politics publicly and take action in promoting peace. Radicalized through meetings and associations with Tariq Ali, Jerry Rubin, Abbie Hoffman, and Phil Ochs, John now called himself a “revolutionary artist.” Focusing primarily on his radical years (1968-1972), The Revolutionary Artist is an examination of Lennon’s forays into activism, his political views, and the music he created during the period. Specific areas of focus include:

An in-depth look at the 1969 Montreal bed-in, with extensive and wide-ranging interviews

Previously unreleased transcript of peace seminar Lennon attended at the University of Ottawa

Unheard discussions between John and Yoko recorded during their Primal Therapy sessions in 1970

A song-by-song analysis of Lennon’s first three solo releases (Plastic Ono Band, Imagine, and Some Time in New York City), with commentary from John

Lennon in 1972 running through and commenting on all of the songs that he and Paul wrote as the Beatles

Review

What new materials could possibly be out there be when it comes to a subject like John Lennon? The answer is apparently quite a lot when it comes to The Revolutionary Artist, a new book that takes a look at the period where John actively promoted peace and wrote some of his best music. Here are some of the highlights:

Yoko's thoughts on John, and the other Beatles, recorded on a tape made during the recording sessions for "Revolution." Interestingly, she is much more fearful here of her tenuous relationship with John than is typically portrayed in Beatles books. She also is quite positive in her feelings about Paul McCartney: "He’s treating me with respect," she says.

Tells how George Harrison left the group in January 1969. John's only response to him was: "We aim to please." Also has a conversation between John and Paul soon afterwards recorded secretly by Let It Be director Michael Lindsay-Hogg where they discuss George and problems internal to the group.

Several interviews with John during the Montreal bed-in for peace event, including a wide-ranging discussion on various topics such as war, student radicals, systems of government, nationalism, the generation gap, parent-child relationships, educational systems, marriage, meditation, religion, money, censorship, and music records.

Testimony from John at a government commission on the use of drugs: "The problem still remains that all of us needs a drug," he says, "whether it is sleeping pills, barbiturates, alcohol or what have you."

John talking about his association with the family of James Hanratty and Michael X (there's one tense moment where a TV host refuses to shake Michael's hand and John interjects: "“Racialism! I saw it.”).

Canadian Prime Minister Pierre Trudeau giving his thoughts on meeting with John and Yoko.

A great discussion on the songs of the Plastic Ono Band LP vis-a-vis Dr. Arthur Janov's ideas on Primal Therapy and how they influenced the material. There is also a lengthy section on some private discussion recorded by John and Yoko at the Primal Therapy Institute where they carry out exercises prescribed by Janov and run through their histories of relationships.

John discussing the tracks of Imagine and Some Time in New York City ("If it’s a choice between the IRA or the British army, I’m with the IRA," John says at one point).

Frank Zappa talking about how John ripped him off in releasing the live cuts on the Some Time in New York City album.

Probably the most fascinating section is the final chapter (#9), where in 1972 John discusses all the Beatles tracks he wrote with Paul, giving his thoughts on each and pointing out who wrote what (it also includes a few of George's tracks that he contributed to). It goes all the way from "Love Me Do" to the Beatles' last single, "The Long and Winding Road" (it also includes the so-called "songs the Beatles gave away," like "Hello Little Girl," "Bad to Me," etc.). The thoughts are then augmented with occasional affirmations or rebuttals from Paul, who offers his own insights on the tracks (it's interesting to note that in 1972, they only disagreed on one song as to who wrote which part).

All in all, worth picking up if you're interested in some of the above-mentioned topics, especially John's music from the Beatles era to circa 1972. Those were the days, my friend...

Beatle Holidays

Paul and Ringo returned looking very brown; John came back with twice the energy and George reckons St. Louis is almost as good as Liverpool.

Comments from the boys:

Paul: "The Greeks thought our clothes were real mad!!! They used to look at us in amazement wherever we went. Ringo and I went to a Wine Festival. They gave us a decanter each and then told us to go ahead and try ALL the 200 different wines they had and then fill it up with the one we liked best. I reckon we'd have been well away by number 34 if we'd done as they said!"

Ringo: "I did a lot of swimming during the day while Paul had a bash at the water skiing. During the evenings we used to join in with the local Greek group called the Trio Athenia. 'Course they didn't play pop stuff--not until we turned up at any rate. Now they'll have a go at half our Top Ten."

George: "I thought America was really great. I met Tony Newley over there. He'd never heard any of our numbers so I played him some of our recordings. When I left he said he wanted to record 'I Saw Her Standing There.'"

John: "Paris is a really fab place. I just wandered around and tried to see everything. At night it's fantastic. The whole city becomes one big night club."

But they all said: "It's great to be back again."

Film Being Considered

Brian Epstein has found a film script which might be suitable for the boys. But they've no intention of rushing into anything.

"We'll wait for just as long as it takes to find just what we want," he says.

Fan Club Tops 20,000

Britain's fastest growing community -- Beatletown -- now numbers over 20,000 citizens. And between 750 and 1,000 new Beatle People move in every week. Fan club secretaries are having a bit of a job answering the thousands of enquiries, but they promise that patience will always be rewarded.

New Guitar for George

George decided to join John's exclusive club and buy a Rickenbacker guitar while he was in America. It was stolen from their van outside the theatre in Glasgow, but, luckily the Police were watching and it was recovered immediately.

Strange Coincidence

(Extract from "Echo")

Mr. George Harrison (60) of Pound Lane, Burley, worker in the New Forest for over 20 years, was very annoyed this morning at stories which suggested he had been deprived of his job as a "Beetle Catcher." "They are making a mug out of me," he said.

My very grateful thanks to everybody who sent me so many wonderful cards and presents on my birthday. I wish it were possible for me to write and thank you all personally. JOHN.

Tremendous Reception in Scotland

The boys have been completely overwhelmed by their audiences in Scotland. In fact the balcony audiences went so wild that a piece of stonework was dislodged.

The Fourmost Thank John and Paul

Another Lennon and McCartney penned number goes racing up the charts. This time it's Brian O'Hara, Mike Millward, Billy Hatton and Dave Lovelady known collectively as the Fourmost who have to thank the top songwriting twosome.

Sweden Wants the Beatles

The boys paid a visit to Sweden at the end of October, where they are in big demand following the terrific success of their discs.